Paolo Pellegrin
[Photographer, b. 1964, Rome, lives in Paris.]

 You want to be more vulnerable because that’s how your photography becomes more human. In a sense you want to become a totally blank canvas so the subject or situation reflects him or itself upon you. 

Ralph Steiner
[Photographer, b. 1899, Cleveland, Ohio, d. 1986, Hanover, New Hampshire.]

 There are only two hard things in photography; which way to point the camera and when to release the shutter. 

Douglas Huebler
[Photographer and artist, b. 1924, Ann Arbor, Michigan, d. 1997, Truro, Massachusetts.]

 I use the camera as a “dumb” copying device that only serves to document whatever phenomenon appears before it through the conditions set by a system. No “esthetic” choices are possible. Other people often make the photographs. It makes no difference. 

Malcolm Browne
[Journalist and photographer, b. 1931, New York, d. 2012, New Hampshire.]

 I had no point of view. I was concerned that [the photographs] be properly exposed, but since the subject was self-illuminated that wasn’t much of a problem. (On his 1963 photograph of self-immolation of South Vietnamese Buddhist monk Thich Quang Duc.) 

Alberto Korda
[Photographer, b. 1928, Havana, Cuba, d. 2001, Paris.]

 Forget the camera, forget the lens, forget all of that. With any four-dollar camera, you can capture the best picture. 

Elliott Erwitt
[Photographer, b. 1928, Paris, France, lives in New York.]

 All the technique in the world doesn’t compensate for the inability to notice. 

Nan Goldin
[Photographer, b. 1953, Washington, D.C., lives in New York and Paris.]

 I never learned control over my machines. I made every mistake in the book. But the technical mistakes allowed for magic…. Random psychological subtexts that I never would have thought to intentionally create. 

Cindy Sherman
[Artist, b. 1954, Glen Ridge, New Jersey, lives in New York.]

 I didn’t care much about the print quality. The photographs were supposed to look like they cost fifty cents. 
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